Jérusalem is a heavily revised version of Verdi's third opera, I Lombardi Alla Prima Crociata. Not only is the music rewritten substantially and the libretto different, but the text is in French. In the end, the work so pleased Verdi that he had the new version translated back into Italian hoping to popularize the opera with audiences in his homeland. His wishes were not realized there, but today both renditions of the score have received attention, although the latter is generally regarded as the stronger version.

Verdi engaged Alphonse Royer and Gustave Vaëz to fashion a new libretto. The original was written by Temistocle Solera, who had used a poem by Tommaso Grossi as a basis for his work. The story of Jérusalem is set in the period 1095-1099, during the first crusade, and concerns the knight Gaston who must endure the dastardly intrigues of Roger, the incestuous-minded uncle of his betrothed, Hélène, and brother to the powerful Count of Toulouse. In the end, Gaston is reunited with Hélène (who suffers her share of trying ordeals), and the dying Roger confesses his misdeeds to the Count, exonerating Gaston of false charges.

In a sense, Verdi's Jérusalem is both shorter and longer than I Lombardi: it is shorter because scenes were cut; but the composer had to add rather unnecessary ballet music to please French audiences. This nearly 20-minute dance segment pads the otherwise condensed work to proportions beyond the original's length. True, Verdi also added an Act I prelude, the Act III finale, and a few other items, but it is the ballet music that gives the greatest bulk to the newer version.

Jérusalem contains many great numbers, retaining (and often improving on the best) from I Lombardi. Try the brilliant Act IV trio, "Dieu nous sépare," featuring Gaston, Hélène, and Roger. The music here (and even in the original) captivates the listener, especially in the soaring soprano part, which seems to rise to the heavens at the climactic moments in the number. Gaston's Act III "O Mes Amis, Mes Freres D'armes" is beautiful as well, as is Hélène's meltingly lovely first act "Ave Maria" and her Act III soliloquy "Que M'importe La Vie." Gaston's role is beefed up somewhat in Jérusalem, and Verdi's orchestration and overall treatment of the material are subtler.

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